All Luxe Trends that Dominated the Runway at London Fashion Week this Season

For Fall Winter 26-27, London designers nodded in favour of artisanal luxury, crafting a timeless closet brought to life with precision and exactitude. From repurposing waste offcuts to experimenting with controlled androgyny - there was a push on scaling up savoir-faire and crafting a mindful wardrobe that lasts irrespective of seasons or trends. Here are the key trends that emerged.

Purposeful Tailoring and Heritage Textiles

Cerebral chic has always been Emilia Wickstead’s core focus, and this season, the designer recontextualised her signature codes—sharp tailoring, restrained elegance, and a quiet, intellectual femininity—while mildly venturing into more androgyny. Exploring a clash between masculine structure and feminine polish, the collection underscored the timelessness of Prince of Wales checks and structured suiting, referencing British heritage.

At Labrum London, there was a clever interplay of classic English tailoring and artisanal textiles. A cream duffel-cloth overcoat with black appliqué panels featuring a trio of toggle fastenings was one of the highlights. Some pieces came with pen-drawn embroidery created in collaboration with Indian artisans.

Craft-centric Approach

No stranger to theatricality and opulence, designer Richard Quinn amped up the drama of his oversized floral prints and dense embroidery, which sublimated the gowns. Motifs like roses, bows, and appliqué blooms reinforced his romantic language. Details like the tiered lace, puffed sleeves, and pearl details added a regalia feel. At Mithridate, an exquisitely hand-embroidered beaded jacket mimicked a snow-flecked sky, and a stunningly corseted dress featured a hand-printed wisteria print.

Upcycling with a Sustainable Ethos

Natasha Zinko took her upcycling techniques to new levels - for instance, her grandad’s plaid shirt was reworked with crinoline to form a tutu-skirted dress, and reimagined as cargo shorts.

She transformed leather jackets into bodycon dresses, worn with neon-pink push-up bralettes. Moreover, her grandma’s vintage mink coats were reimagined as corsets, or used for trimmings on a brocade opera coat and a spaghetti-strap chiffon slip.

At Phoebe English, each look was constructed from a diverse mashup of fabrics, much of it in the form of waste offcuts harvested from a network of makers with which the designer partners. At Erdem, there were two dresses in pale primrose and periwinkle from previous shows, combined and over-embroidered again.